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"Free jazz... A deeply experimental music, it dismantled the tonal and rhythmic conventions established by previous iterations of jazz—bebop, cool, and swing. Its radical spirit coincided with the calls for social, economic, and political revolution that defined American life.... For some, this new music was sacrilegious. Early jazz had translated the blues for middle-class sensibilities, but free jazz departed from the legible sounds of the past—sounds that no longer aligned with how musicians were feeling. Jazz artists were seeking a more personal style, and in this tumultuous era, the mode was by any means necessary..."
In Fire Music, a 2018 film that draws from archival footage and in-depth interviews from free jazz’s golden age, [Ornette} Coleman mentions a moment in the 1960s when he was dragged off stage and beaten in the back of a New York club for playing the way he did. This kind of backlash also affected the career of another brilliant saxophonist, Eric Dolphy, whom the film brings to life through a recounting of a time when he walked into a club in Germany for a gig, carrying a copy of a 1964 issue of Downbeat in which Miles Davis unequivocally denigrates his playing. A witness to the actual incident remembers that Dolphy went backstage and started binging on sweets until he went into a diabetic coma. He did not survive..."
Their Sounds Were Watching God
Also:
Free Jazz on Film part 1 - The Buzz: The JJA Podcast